In our previous entry on the
JBL Paragon we briefly discussed the history and heritage of JBL, and where the landmark design of the Paragon fit into that storied company's history.
Two years after the Paragon completed its 25-year run (from 1958 to 1983, trailing the QUAD ESL's 28-year run and the Klipschorn's 60+ years in the loudspeaker-longevity sweepstakes), JBL released a "statement" product, one that would represent not just the best of the company's history, but the absolute best they were capable of producing in 1985. Appropriately, the design effort was named Project Everest. Rarely seen outside of Japan today, an Everest system is
advertised on Audiogon now.
Referring once again to Don McRitchie's indispensible
Lansing Heritage website, we find a wealth of information on Everest (dubbed DD55000 in JBL-speak), including a white paper by JBL's legendary John Eargle. In the paper, Eargle describes the steps taken to ensure accurate stereo imaging anywhere within the radiation-field of the speakers. The midrange horn and high-frequency drivers were mirror-imaged, with the tweeter firing into the mid-horn in a way reminiscent of the Paragon.
While some aspects of the Everests recalled the Paragon, in many ways the two were very different. Both were 3-way systems utilizing a 15" woofer, compression-driver midrange and ring-radiator tweeter; the Everest's 150-4H woofer was even an updated version of the 150-4 used in the early Paragons. The Paragon consisted of two mirror-imaged enclosures connected by a central diffuser, forming a single massive console; the Everest system consisted of two separate mirror-imaged 3-way enclosures constructed and used in the conventional "box" manner. The intent of both designs was the same: provide pimpoint imaging anywhere in the listening room. A small "sweet spot" was not a part of the JBL design brief.
The Paragon was a product of the early years of stereo; amps used vacuum tubes, and power outputs in the 15-40 watt range were the norm. Accordingly, the Paragon was highly efficient, rated at 95 dB/1 watt/ 1 meter. The Project Everest brochure makes clear that it was a product of the digital era, able to reproduce the wide dynamic range digital was (at least theoretically) capable of, as well as provide the imaging demanded by a new generation of mini-monitor fans. The Everest was, at 100 dB/ 1 watt/ 1 meter, even more efficient than its illustrious ancestor, and with its high power-handling, could produce levels of 115 dB at three meters, according to Eargle.
Ironically, given the massive enclosures of the Everest (over 20 cubic feet, 320 pounds), bass-response was stated by Eargle as " smooth...down to 40 Hz." He continues, "It is our opinion that 40 Hz. represents an excellent trade-off, considering the advantages of such high sensitivity. The occasional listener who wants response which reaches down to, say, 25 Hz. will need a sub-woofer to cover that range." In today's world of shoebox subs, one would expect a built-in powered sub with response into the single digits. Well, at least flat to 20 Hz.
The bass was rolled off in recognition of the Everest's intended market of Japan. Listening rooms in Japanese homes tend to be considerably smaller than those in American homes, and the rolled-off bass in a smallish room would result in reasonable lower bass response.
The Everest was well-received in the Japanese market, receiving Stereo Sound magazine's "Product of the Year" award in 1985. Regular production continued until the replacement model, K2 (named after the Himalayan peak second in height to Everest) , appeared in 1989. It's thought that around 500 pair were produced.
The JBL Everest was intended for sale only by JBL's international division, and none were ever "officially" sold in the U.S. Our featured pair are indeed rare birds.
